Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Dominican Republic and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1968 to 1973.
I'm losing my edge.
To all the kids in Taipei and Taipei.
I'm losing my edge to the art-school Accra kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1984 at the first Arcadia practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Negative Approach to the disco kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Theoretical Girls. All the underground hits.
All Bobby Byrd tracks. I heard you have a vinyl of every Animal Collective record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Pretty Things record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Theoretical Girls,
The Real Kids,
Grandmaster Flash,
Arcadia,
Brand Nubian,
The Misunderstood,
Nick Cave & The Bad Seeds,
Oneida,
Eurythmics,
The Durutti Column,
Mandrill,
Drexciya,
Buzzcocks,
Mission of Burma,
Mary Jane Girls,
Barbara Tucker,
Kerrie Biddell,
Sonny Sharrock,
Liaisons Dangereuses,
Siglo XX,
These Immortal Souls,
Magazine,
The Evens,
Mad Mike,
Reagan Youth,
Pagans,
The Detroit Cobras,
Lou Reed & John Cale,
Gabor Szabo,
Animal Collective,
Outsiders,
Porter Ricks,
Ituana,
Ralphi Rosario,
Dorothy Ashby,
Basic Channel,
Anthony Braxton,
Cluster,
Charles Mingus,
Rufus Thomas,
Minutemen,
H. Thieme,
Simply Red,
Ultra Naté,
Nation of Ulysses,
Thompson Twins,
Nik Kershaw,
The Gap Band,
Massinfluence,
Robert Görl,
Notorious BIG live in Amsterdam,
The Trojans,
Altered Images,
L. Decosne,
Sällskapet,
Saccharine Trust,
The Last Poets,
Black Pus,
8 Eyed Spy,
Gil Scott-Heron and Jamie xx,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.